The White Stripes producer Jim Diamond interview
The White Stripes were just inducted into the Rock and Roll Hall of Fame, making fans look back at the early days of Jack White and Meg White in Detroit. Curious about the early days of the White Stripes, and what it was like to record them? Then we have the interview for you: an exclusive chat with Jim Diamond, who was the producer of the White Stripes’ 1999 self-titled debut!
Greg: Were you invited, and did you attend the White Stripes’ Rock & Roll Hall of Fame induction?
Jim: No, neither. I didn’t attend. I’m not a huge Rock & Roll Hall of Fame person; it’s just my opinion. I wasn’t involved in any of that.
Greg: If you watched it, what was your reaction to Jack White’s acceptance speech? Anything he said that surprised you?
Jim: I didn’t watch it. I’m not a believer in the Rock & Roll Hall of Fame. I had a conversation last week: where’s Grand Funk Railroad? Where’s the James Gang? There’s so much missing. The museum is great, but I’m not into the Hall of Fame idea. I prefer just a museum. So I don’t pay attention to that.
Greg: You knew Meg during the band’s earliest years. How would you describe her personality, and do you have any memorable stories?
Jim: We spent a lot of time in the studio on the first record, and Meg was not a trained drummer. She was very quiet and took a lot of takes, but she had enthusiasm and drive. For their music at the time, it was the perfect fit.
Greg: Was there a moment in the studio or a performance where Meg’s uniqueness really clicked for you?
Jim: There were a lot of dropped sticks. She relied heavily on the floor tom — the big primal beat you use when starting out. She wasn’t doing Buddy Rich or Gene Krupa, but for the music, it fit. By the time I started working with them, the songs and beats were locked in, so there wasn’t much experimentation.
Greg: Meg has stayed out of the spotlight for almost a decade. Was that who she always was, or did fame take a toll?
Jim: Probably a combination. She was always quiet. I don’t think she had any idea they’d get famous off those records, so she wasn’t prepared for it.
Greg: When was the last time you spoke to Meg?
Jim: I moved out of Detroit in 2015. I probably hadn’t seen her for 5–10 years before that, so at least 15 years.
Greg: What do you think Meg’s legacy will be among musicians who grew up on those early records?
Jim: It’s great when female musicians are in an influential band — a great role model. There’s too much of “you’re good for a girl.” No — you’re just good. A friend’s daughter wanted to play drums because of Meg White. That influence is a great legacy.
Greg: When you first worked with Jack, what quality stood out that made you think he might become something special?
Jim: They worked their ass off. They toured constantly in a Ford Taurus. They had a memorable look — the red and white, the peppermint swirl — no one else took it that far. That helps a lot. Touring hard and having something memorable besides the sound matters.
Greg: Was Jack obsessive or a perfectionist in the studio early on? Any habits fans might not know?
Jim: Not at that time. He kept saying during the first record, “It sounds like it’s in a studio.” I said, if you don’t want it to sound like a studio, let’s record a live show. He’d never been in a studio. For vocals, I plugged his mic into a 1950s tape recorder with a built-in speaker, and he sang through that. That’s the vocal sound on the first record — a 1953 Revere tape recorder I found in my uncle’s basement.
Greg: Was that used for the entire first album?
Jim: Almost everything. The rockers were all sung through that tape recorder.
Greg: What’s one thing Jack did in the studio that would genuinely surprise people?
Jim: Nothing that I saw. He had a clear idea of how he wanted things to sound — rare for someone making their first record. He had a clear vision. We just worked together on sounds and tried things like the tape recorder.
Greg: Do you remember when you realized the sound you were capturing was unique?
Jim: They weren’t the first two-piece I worked with. I’d worked with Bantam Rooster before. To the world, the two-piece setup was unique. To me, they were my third or fourth two-piece. I saw it as an extension of Bantam Rooster, but with a female drummer capturing their beat.
Greg: Were any final takes actually first takes? Any accidents that became part of the record?
Jim: Probably, but this was 26 years ago. I don’t remember. Some were first takes; some took 16–17 takes.
Greg: Did Jack and Meg ever disagree creatively?
Jim: Meg wasn’t an equal partner at that point. She mostly took direction. I don’t think she was going to argue creatively — she was a beginner, and he wasn’t.
Greg: That push and pull was probably part of what made them special.
Jim: I’d say so.
Greg: Any stories from those sessions that haven’t been shared before?
Jim: The studio was a 40 x 30 concrete room in an empty warehouse. Meg’s feet were always cold, and I kept making her green tea. That’s about as exciting as it gets.
Greg: What are your thoughts on how easy it is now to get decent sound through GarageBand and home setups, compared to what the White Stripes were doing?
Jim: There are pros and cons. Home recording is easy, but there are things you don’t know unless you’re trained. Lots of people record at home and send me tracks to mix or master. Everyone can do it now — all you need is an interface, computer, speakers, and mics. But that doesn’t mean it’ll be done well. More output isn’t always a good thing.
Greg: Was there any recorded material that was never released?
Jim: There has to be. I can’t name anything specific, but there were alternate takes. Some songs had a lot of takes.
Greg: What was it like seeing them live at the time compared to other bands?
Jim: They were unique because they had a look, and Meg was doing this primal thing. She watched Jack closely because he had the experience — he’d played in Two-Star Tabernacle and The Go. You could sense tension, like things could fall apart, but most of the time they didn’t.
Greg: What’s Jack and Meg’s legacy in the Detroit scene?
Jim: They were one of the few bands that made an international impact. Detroit Cobras and Dirtbombs had recognition, but the White Stripes had the biggest impact. They looked the best and worked the hardest.
Greg: What was your reaction to the first album gaining local attention and not finding major prominence until later?
Jim: I was always happy when anything I worked on got attention. In a local studio, you don’t expect that. But when they got big, it was great for everyone in Detroit. Then you had Electric Six getting international notoriety, so it helped everyone.
